2025
Monotype printed on Japanese Kozo-PaperSeries
97 x 150 cm
Printed on Japanese kozo paper, the views from the Idyll series, depicting lonely forests, avenues, and clearings, possess a unique effect. The coarse-fibered paper, derived from the mulberry tree, engages in a dialogue with the artistic drawing, enhancing it with its distinctive, semi-transparent texture. In the monotype (single-print) process, the drawing on the reverse of the paper is transferred to the front by pressure, resulting in a mirror image. The series evokes a longing for retreat into nature, though the depicted idyll is only seemingly trustworthy. While the forest offers protection, it also feels oppressive and unreal.
Photography by Sabina Bösch und Studio Seghrouchni
2025
Woodcut and Watercolor
100 x 150 cm
The horizontal work Ritual 15 is part of an unfinished series of colored woodcuts inspired by the Japanese Moku Hanga technique. In this work, the actual printing plate becomes an independent image carrier, painted with black printing ink and vibrant watercolors in blue, red, and yellow. The colors intensify the separation between a multicolored foreground, seemingly depicting a ritual, and a primarily blue background reminiscent of gently rolling hills. Upon closer inspection, the ecstatic forms and colors gradually blur, altering the image's meaning and allowing for radically new interpretations.
Photography by Sabina Bösch Studio Seghrouchni
2025
MonotypeSeries
42 x 29,7 cm
The expression ‘no man's land’ refers to a place where people cannot go or where their existence is acutely threatened. This can be the contested front section of a battlefield, the buffer zone between two countries, or the inaccessible area in front of a medieval city wall. The term has a history of over 1000 years and is first mentioned in William the Conqueror's Doomsday Book, a record of the royal properties' land value. Without depicting a specific location, the monotypes from the drawing series alternate between desolate landscapes and agitated bodies. They pose the question: where is our no man's land?
Photography by Kilian Bannwart
2025
Woodcut200 cm x 154.5 cm x 120cm x 154.5 cm
6 Woodcut panels (variable sizes)
A fountain burbles in the centre of this trapezoidal work; its water surface is unbroken. Water lilies leaves float in the basin, surrounded by threateningly spreading vines. Bright light illuminates the scene: Is it day or night? The woodcut is based on floral ornaments and Albert Van Huffel's symmetrical Art Deco designs. The image as a negative, a result of the wood cutting technique, is combined with a radically subjective view of a ragged landscape, reflecting the experience of constriction and disorientation.
Photography by Luca Nassar
2024
Woodcut360 x 480 cm
24 panels, each 120 x 60 cm
This dramatic landscape takes the viewer in and only reveals its disturbing details at a second glance. Amid maltreated nature and an opaque superposition of lines and forms, shadowy figures surface. The existential fear of death and destruction portrayed is expressed in the woodcutting technique, which leaves scars in the material through the wood’s treatment. The large-format work comprises 24 panels that unmask the pictorial motif as construction and contrast the suggested perspective with a grid.
Photography by Marc Latzel
2024
Woodcut260 x 190 x 260 x 130 cm
14 Woodcut panels (variable sizes)
Based on a photograph with a dystopian view of ruins in Berlin after bombings in 1945, this trapezoidal work renders the original subject almost entirely abstract. Destructive feelings are a starting point for creative work that produces something new and enables alternative perspectives. This work explores the relationship between flatness and three-dimensionality, which manifests itself in the medium, the trapezoidal shape of the woodcut, and vanishing points within the depiction.
Photography by Studio Seghrouchni
2024
Woodcut100 x 150 cm / 120 x 84 cm
Gazing at the works SCENERY VII and SCENERY VII (CLOSE UP), the viewer is overcome by a feeling that is both uneasy and ecstatic. All that remains of a former lush forest are a few tree stumps, branches, and shrubs that are torn apart. A shower of glaring light sets in and illuminates the sky. Although the gloomy landscape evokes associations with images of war or natural disasters, the lines and carved-out surfaces do not follow the conventions of realistic depictions and take on a life of their own.
Photography by Studio Seghrouchni
2023
Woodcut on textile294 x 180 cm
Seven woodcut panels incorporate three different themes: transience, desire, and landscape. Each plate was manually printed three times on the textile in a different order and mirrored. The multiplication of the same elements creates surprising and sometimes confusing combinations that challenge familiar visual hierarchies and analyse the relationship between repetition and diversity.
Photography by Studio Seghrouchni
2023
Woodcut84 x 120 cm
4 panels, each 42 x 60 cm
This four-part woodcut work is based on archival images of the Gothic church of St Martin in Ypres, Belgium, which was destroyed in the First World War and later rebuilt. Destruction and continuity resonate in this maltreated landscape with a figure reminiscent of Christ.
The woodcut was created for the group exhibition CROSSING WAYS at the Musée d’Art religieux moderne, Basilique de Koekelberg in Brussels, where new works encountered objects from the museum's collection.
2021–2023
Watercolour, pastel, graphite on paper and cardboardSeries
26 x 36 cm
Figuration and abstraction merge in this series and mark the transition between different visual orders. What seems separable - colour and form, inside and outside - is called into question in the watercolours. The human body serves as a reference, whose openings and fluids co-determine visual perception, or which, in sexuality, connects with others and makes boundaries unrecognisable for a brief moment.